TOKYO PAPER for Culture vol.0 SNS Taking a drink of water is an everyday act. But if you can drink it exactly the way you want to, you ve entered the

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1 東京の文化をスポーツのマインドで探求するフリーペーパー The Free Paper that Delves into Tokyo Culture Guided by a Sports Mindset PLAYERS TALK エンターテイナーの条件 What it Takes to Be an Entertainer 武井 壮 百獣の王 三浦大知 ミュージシャン SO TAKEI P. Summer 第十三号 0 THIRTEENTH ISSUE DAICHI MIURA KING OF BEASTS MUSICIAN 平成 年 月 日発行 リオデジャネイロ 0 オリンピック パラリンピックが目前 東京新陳代謝 に迫り 00 年の東京にもどんな風景が広がっていくの Tokyo Transitions 大橋裕之 HIROYUKI OHASHI P. か 今からどきどきする 言語を越えて 世界共通の感動 をダイナミックに喚起するスポーツは 人生の様々なシー ンにも置き換えられ 生きることの喜びや楽しさを運んで 絵 文 ほしよりこ くれる文化にもつながっている 真剣勝負の瞬間 失敗へ の恐れも勇気に変えて躍動するスポーツマインドを見習っ Text and Illustration by て TOKYO PAPER for Culture は より軽やかに よりア Yoriko Hoshi 0 00 公立図書館 RECORD NO. P. 青梅市 Ome 奥多摩町 瑞穂町 Okutama Town Mizuho Town アンサンブルズ東京ほか Ensembles Tokyo and more... P. Hamura 福生市 檜原村 Akiruno 昭島市 立川市 Tachikawa Tama 町田市 Musashino 三鷹市 Mitaka 稲城市 Inagi 調布市 Chofu 狛江市 Komae Machida 世田谷区 Setagaya 0 中野区 新宿区 Nakano Shinjuku Chiyoda Shibuya 中央区 Chuo Meguro 0 PLAYERS TALK Hachijo Town エンターテイナーの条件 (Aogashima) 八丈町 八丈島 (Hachijojima) Niijima Village 神津島村 神津島 Kozushima Village (Kozushima) 三宅村 三宅島 Miyake Village (Miyakejima) 江戸川区 Edogawa クティブに 東京の文化を探求していきます With the Rio de Janeiro 0 Olympic and Paralympic Games nearly upon us, it s exciting to start imagining the kind of scenes that will play out in Tokyo in 00. Sport transcends language, its dynamism arousing emotions shared around the world. Offering parallels to many situations in our lives, sport is a part of culture that reminds us how much fun and joy there is to living. Competing for real. Learning from a sports mindset that energetically transforms fear of failure into courage, TOKYO PAPER for Culture will continue to delve into Tokyo culture, staying active and light on its feet. 江東区 Koto 大田区 (Ohshima) (Niijima) 港区 Minato 目黒区 Toshima Village 墨田区 Sumida 千代田区 0 渋谷区 Shinagawa 新島村 新島 台東区 Taito 品川区 大島町 大島 Ohshima Town 利島村 荒川区 葛飾区 Katsushika Arakawa 杉並区 武蔵野市 Koganei 多摩市 府中市 Fuchu Suginami Adachi Bunkyo 豊島区 西東京市 Hino 小金井市 国立市 Kunitachi 日野市 Hachioji Kokubunji 0 文京区 Toshima Nishitokyo 国分寺市 Akishima 八王子市 kurume 足立区 Kita 練馬区 東久留米市 0 Itabashi Nerima murayama 北区 東村山市 Musashi murayama Fussa あきる野市 Hinohara Village yamato 武蔵村山市 羽村市 日の出町 Hinode Town Kodaira 東大和市 板橋区 Kiyose 小平市 P. Public libraries 清瀬市 0 0 Ota 小笠原村 父島 母島 Ogasawara Village (Chichijima / Hahajima) 青ヶ島村 青ヶ島 Aogashima Village 御蔵島村 Mikurajima Village What it Takes to Be an Entertainer 武井 壮 百獣の王 三浦大知 ミュージシャン SO TAKEI KING OF BEASTS DAICHI MIURA MUSICIAN 東京の文化を支える表現者たちの心意気を スポーツのマインドで垣間見る巻頭対談 プレイヤーズトーク 第一回目は武井壮さんと三浦大知さんを迎えて それぞれの舞台での真剣勝負について話を伺いました Players Talk an opening interview that reveals through glimpses of a sporting mindset the spirit of expressive people who support the culture of Tokyo. For this first installment we welcome So Takei and Daichi Miura to talk about how each competes on his own stage. 三浦 僕が武井さんを知ったきっかけはバラエ 技 十種競技の元日本チャンピオンだったと 動かすのが得意だったから これなら将来 自 考えた結果が 本番でも練習でも調子の良い 分はスポーツという道で成功できるんじゃない 状態を常に保つ つまり調子の悪い日をゼロに か って淡い希望を抱いてて スポーツは頭で することだった それで高校生の頃から 年間 思ったことを思い通りできれば 絶対に成功す 自分の身体のデータを取り続けてみたんです るわけだから その能力を鍛えれば道は開け 三浦 年間も! る そう思ったんだよね 武 井 そう 日 回部 屋の中と外の気 温と湿 三浦 そう確信したのはいつですか 度 身体の挟める部分全部の体温 そして自 ティ番組です その番組で武井さん いろんな 知ってびっくりして なかでも僕が一番驚いた 武井 小学生の頃 それからは自己分析の毎 分が着ている服の素材まで細かくデータを取っ 種類の動物の倒し方を披露していました それ のは 自己分析の徹底ぶりです 記事か何か 日で て 毎回 0m 走のタイムを計って体調を記録 がもう 最高におもしろくて 大笑いして で読んだんですけど 毎日自己ベストを出すた 三浦 小学生でそんなふうに考えられるっていう するの そうすると自分をどの状態に置いたら 武井 百獣の王だからね めに 毎日自分のデータを記録していた って のが もうすごいです 調子が良くなるのか 悪くなるのかがおもしろい 三浦 笑 以来 武井さんのことが気になっ いうような話をされていて 武井 いや全然すごくもなんともなくて 得意の ほどわかるから それをもとに体調をコントロー て インターネットで調べたり 武井さんの記 武井 そうそう ひたすら自分のデータを取って スポーツをギャンブルにしないで ちゃんと自分 ルすると本当にほぼ毎日自分は絶好調 笑 事を読んだりしているうちに もともと陸上競 いました 小さい頃からよく動く子供で身体を の人生の柱にするために何が必要か それを 三浦 自分のバイオリズムがわかってくるんです

2 TOKYO PAPER for Culture vol.0 SNS Taking a drink of water is an everyday act. But if you can drink it exactly the way you want to, you ve entered the world of sport. SO TAKEI 武 井 壮 0 0 Miura: I first learned about you when you appeared on a variety show I was watching. You were explaining how to bring down all different sorts of animals and it was so hilarious it had me in stitches. Takei: Well, I am the King of Beasts. Miura: (Laughs) That got me started thinking about you a lot and as I checked the Internet and started reading articles I was shocked to learn that you d started out as the national champion in decathlon. But what really surprised me was how dedicated you are to self-analysis. I read in an article somewhere that you kept a daily record of all kinds of data so that you could try to mark a new personal best every day. Takei: That s right, I kept careful records. I ve been active ever since I was a little kid and was pretty good at moving my body, so I had this idea that one day I might be successful in sports. I figured the key to success in sports was to be able to execute things exactly as I saw them in my head, and if I could cultivate the ability to do that then a path was sure to open up. Miura: When did you decide that? Takei: When I was in elementary school. From that point on, it was self-analysis every day. Miura: That s pretty incredible for a kid still in elementary school, isn t it? Takei: Not at all. I was good at sports but I wanted to figure out how to turn sports into the real mainstay of my life, rather than just taking a gamble. After thinking about it I decided the key was to maintain top condition at all times, whether in competition or in training to eliminate bad days. Starting in high school, then, I kept track of data on my own body for a solid six years. Miura: Six whole years! Takei: That s right. I kept track of all sorts of fine-grained data the inside and outside temperature and humidity six times a day, my body temperature everywhere I could hold a thermometer, even the materials my clothes were

3 TOKYO PAPER for Culture vol.0 Black or White made of and recorded my condition and time whenever I ran the 0 meters. That made it easy to see the conditions under which I performed well or poorly, and then I could make adjustments to maintain my condition. In no time at all I was in top form just about every day. (Laughs) Miura: So you figured out your own biorhythm, right? I think it s amazing that you posed a problem and then managed to find the answer all by yourself. A lot of times people just never find an answer. Takei: There s always an answer. But this wasn t an answer that would work for everyone in the same way; it was just the answer that worked for my body. I can still feel what it was like then in my mind and in my skin, so now even if I get sick I can use the techniques I acquired then to aid my recovery. I figure I ve probably got more tools in my toolbox than anybody else in the world. It s kind of freaky, really. (Laughs) Miura: That is kind of freaky. You know, lately I ve been thinking a lot about how indispensible the Internet has become, and about the popularity of social media, and how easy it is to let the way other people evaluate you become a substitute for who you really want to become. It s like looking into a mirror that somebody else has made and believing that the reflection it shows is the real you, and then it gets harder and harder to face yourself square on. How do I need to move to feel my best? How do I need to feel to enable myself to move optimally? What do I want to do most of all right now? The critical thing is to think things though carefully in my own head, to analyze myself on my own. So it s been really inspiring to see how you ve been able to hold steady in putting that sort of thing into practice for so long. Takei: I m really glad to hear I ve made a little bit of a difference to someone like you who s working in a totally different field. Miura: I ve decided, like you did, to try as much as possible to eliminate bad days, and part of that is not doing anything special before going on stage. I don t have any lucky routine I feel I have to do to make a show a success, and I try to avoid setting things up in a way where anything absolutely has to be just right in order to work. I don t want the quality of my performance to be swayed by anything peripheral. Takei: So you re always working to ensure you can maintain a constant high level of performance regardless of differences in outside factors? Miura: That s right. Takei: To put it another way, then, instead of just trying to extend your height, you re working to extend your breadth and depth, right? Miura: I guess so. Song and dance are important to me, but I m acutely conscious of wanting those who watch me to feel entertained in the end. I want to get in touch with the audience s feelings, and I hope what I do makes their lives just a little bit richer. That s the most important thing so I ve never been satisfied with just my singing or dancing on its own. Takei: So you re not so much seeking to stretch what you re good at as to conquer your weak points? Miura: Right. I want to be able to maximize the number of things I can do well. Takei: So you re filling up your own toolbox, then. What you re describing reminds me a lot of the way I practiced for the high jump. Let s say a high jumper has muscle strength of 0. If he could reach the highest height possible using all 0, and do so with the best possible technique, he d mark the best possible record, right? But if outside factors come into play, like a strong gust of wind that catches him from behind. Miura: Then he might lose his balance, hit the bar, and foul out. Takei: Right. So as you refine your technique for height alone, you lose breadth and your risk of failure grows, too. I didn t like this at all. I felt it would narrow my potential. I think this holds for sports generally, but athletes are specialists who have refined their own technique in ways nobody else can imitate. This is awesome in its way, of course, but it made me nervous. The reason being that if anything interferes with the technique you end up performing like an amateur. I thought this was the biggest risk in sport. So when I practiced the high jump, I worked exclusively on clearing the height without touching the bar. When I was training, I would start my approach from a different location, take off in a different place, and try clearing the bar in a different way every time. I figured there was only one truth about the high jump: you succeed if you clear the height without touching the bar. Miura: Jumping the way you want to jump, that s the essence of sports that you were talking about earlier, isn t it? Takei: Right. It s like drinking water. You can drink water without having any particular image in your head; it s just something you do as part of your everyday life. But if you send a directive from your brain to drink like this, then suddenly you ve entered the world of sport. Wanting to do something and then finding a way to do it is the primitive, true nature of sport. On Becoming a Magician Takei: I have a lot of respect for entertainers like you, Daichi. All by yourself you cast a spell over your audience. You re a magician! You do your PLAYERS TALK エンターテイナーの 条 件 What it Takes to Be an Entertainer magic and everyone cries, or feels moved, or has fun. When I see this it makes me realize that that s something I just don t have. Miura: What do you mean you don t have magic? Takei: For example, even when I won the decathlon it didn t put a smile on anybody s face. The sports ability I d cultivated just didn t have that kind of magic. When I realized this, it made me feel envious of those who can use magic: artists, performers, celebrities, and actors. Entertainers play on a field that demands more than just height; they have to have breadth and depth, too, and they make people happy. That s something I didn t have. Sure, sports are a kind of entertainment but I was never able to become an entertainer in the world of sports so I decided to become an entertainer who works with sports. That s how I ended up doing what I do now. What got you started singing and dancing, Daichi? Miura: For me I suppose discovering Michael Jackson when I was a kid had a lot to do with it. I especially liked his music video for Black or White. All sorts of different ethnicities make an appearance, and as the set changes from country to country Michael joins in with them as they perform ethic dances. I was just a kid when I saw it but it left a huge impression, like, Wow, Michael s Michael wherever he goes and whatever he does. No matter where he went he didn t get lost in the local color but instead adapted it to create something original; I thought he was so cool, and I was so envious, and I wanted to

4 TOKYO PAPER for Culture vol 三 浦 大 知 Why do I sing and dance? Because I m constantly thinking about how to explore their essence. DAICHI MIURA be like him. That s what got me started singing and dancing, though of course I knew I d never be able to climb the same mountain Michael had even if I tried. On the other hand, if there were some other mountain, and if I climbed it my way, then just maybe, just maybe I could approach what Michael did, at least in terms of being an original. That s the belief that s kept me going. Takei: Mt. Daichi, then! You re right, though. Mt. Everest isn t the only beautiful mountain out there, and just because a mountain s tall doesn t necessarily mean it s beautiful. How do you think about singing and dancing as ways of expressing yourself? Miura: For me, I think of dancing as a kind of acting that conveys the world of the song. So if there were a song that would be best conveyed without dancing, I d leave the dancing out. But the choice not to dance would be, for me, the ultimate dance-like expression. Takei: That s really interesting. What you just said reminds me that whenever I try something new I make an effort to avoid becoming somebody reduced to a title. I start by replacing the title with a description of what someone with the title does. I could call myself a singer but if nobody ever heard me sing it wouldn t mean much, would it? Singer is just a word. So for me, a singer is someone who moves people by singing songs. The important thing is the action, the activity. That s how I like to think of things, anyway. Miura: As we ve been talking just now I m reminded how inspiring it is to hear you talk about the way you look into the essence of things. Why do I sing and dance? Because I m always trying to get at the essence of these two things, and because ultimately I don t want to be a singer or a dancer but Daichi Miura a genre all my own. Takei: My own title is the King of Beasts, but my occupation is So Takei. Who knew we d have so much in common? It s like I was dashing through the long grass toward some unseen goal, gave a roar and looked beside me, and there you were, running too. Like, Whoa, what s Daichi doing here? (Laughs) Miura: It d make me crazy happy to run with you! Takei: And we d have to do it here in Tokyo. I ve been to all sorts of cities all over the world but I think Tokyo s the best. I was born and raised here, but it s really a magic place where people can have fun and be active around the clock, and turn just about anything into a job. There s nowhere like it anywhere else in the world. Miura: I think you re right. I consider myself someone who s conscious of creating music that s from Tokyo. I love the Japanese language, too, and I m always trying to introduce more Japanese songs to the world. Takei: Tokyo s got the finest of everything, and yet you don t hear a lot of people talk passionately about all that the city has to offer and how much fun it is. I m not sure there s any good answer to that, though. It would take enormous effort to get a handle on everything in the city, and there s no way you could enjoy all of it without a lot of effort and a lot of knowledge. That s why what I m trying to say is that it s a waste to try to enjoy yourself only by, say, competing to see who can go highest in one little world or one narrow field. There s tremendous breadth and depth, too, and I hope people will look all around Tokyo 0 degrees around the city experiment a little bit with different ways to enjoy themselves every day, and grow in the process. So Takei 9 00m sosotakei Known as the King of Beasts. Born in 9 in Tokyo. Former decathlete and Japan national champion. Won a gold medal in the x 00 relay at the World Masters Athletics Championships held in France last autumn. His collection of interviews with top athletes Katsu hito: jusannin no asuritotachi [People Who Win: Athletes] (Bungeishunju) was published on July. Twitter And then I really hope people will be ready to have the time of their lives in four years when the Olympics the finest festival of sports and entertainment in the world come to Tokyo. I ve been practicing how to throw a baseball at 0 kilometers an hour, and how to play the piano trying every day to master some new knowledge or skill. Miura: I ll be working hard, too, trying to do something that will entertain even those people who until now have looked at what I was doing and said, There he goes again, up to something weird. Takei: A lot of people who run just say, Ah, enough already and throw in the towel halfway through, but I m pretty sure you ll keep running. I hate to lose so I ll keep legging it, too! Miura: I m pretty sure you ll win if we re racing for speed! (Laughs) Daichi Miura 9Folder 9900Keep It Goin' On 9 DAICHI MIURA LIVE TOUR 0 Musician. Born in 9 in Okinawa. Debuted in 99 as the main vocalist for Folder. Served as solo singer for the March 00 single, Keep It Goin On. Active as a singer, choreographer, and songwriter, he plays instruments, too. His -location, -show national tour, Daichi Miura Live Tour 0, will kick off on September with a performance in the large hall at Suncity Koshigaya Civic Hall.

5 TOKYO PAPER for Culture vol.0 RECORD NO. 00 公 立 図 書 館 Public libraries 9 Tokyo Records provides a visual grasp of the city using Tokyo-related facts and figures. Do you know how many public libraries there are in Tokyo? There is a total of 9 public libraries which include the National Diet Library where all publications nationwide are held, the two metropolitan libraries run by Tokyo Metropolitan Government, and the libraries set up by each municipality. If you look closely at the features of their collections and facilities, you can spot various local characteristics. Local individuality is reflected in the libraries. We could discover something new if we utilized libraries from that angle. 凡 例 Legend 0 0 利 島 村 Toshima Village 神 津 島 村 ( 神 津 島 ) Kozushima Village (Kozushima) 奥 多 摩 町 Okutama Town 東 京 都 最 西 端 Westernmost Tokyo Hikawa Library, Okutama Town 新 島 村 ( 新 島 ) Niijima Village (Niijima) 大 島 町 ( 大 島 ) Ohshima Town (Ohshima) 三 宅 村 ( 三 宅 島 ) Miyake Village (Miyakejima) 御 蔵 島 村 Mikurajima Village 檜 原 村 Hinohara Village 青 梅 市 Ome 日 の 出 町 Hinode Town あきる 野 市 Akiruno 八 丈 町 ( 八 丈 島 ) Hachijo Town (Hachijojima) 青 ヶ 島 村 ( 青 ヶ 島 ) Aogashima Village (Aogashima) 八 王 子 市 Hachioji 約 万 000タイトルの 雑 誌 がずらり Impressive array of about,000 magazines Tokyo Magazine Bank, Tokyo Metropolitan Tama Library 羽 村 市 Hamura 瑞 穂 町 Mizuho Town 福 生 市 Fussa 昭 島 市 Akishima 小 笠 原 村 ( 父 島 母 島 ) Ogasawara Village (Chichijima / Hahajima) 武 蔵 村 山 市 Musashi murayama 0 立 川 市 Tachikawa 日 野 市 Hino A 町 田 市 Machida 東 大 和 市 yamato 国 立 市 Kunitachi 国 分 寺 市 Kokubunji 多 摩 市 Tama 東 村 山 市 murayama 小 平 市 Kodaira 府 中 市 Fuchu 清 瀬 市 Kiyose 東 久 留 米 市 kurume 小 金 井 市 Koganei 稲 城 市 Inagi 西 東 京 市 Nishitokyo 調 布 市 Chofu D 街 を 走 る 台 の 移 動 図 書 館 Three mobile libraries traveling the streets Machida 東 京 都 最 南 端 Southernmost Tokyo Hahajima Library 子 供 向 けの 本 が 充 実 An abundance of children s books Nerima 練 馬 区 Nerima 武 蔵 野 市 Musashino 三 鷹 市 Mitaka B 狛 江 市 Komae 板 橋 区 Itabashi 杉 並 区 Suginami 世 田 谷 区 Setagaya E 本 が 最 も 多 いのは? Where are the most books? Suginami 中 野 区 Nakano 北 区 Kita 豊 島 区 Toshima 目 黒 区 Meguro 足 立 区 Adachi 0 文 京 区 Bunkyo 0 新 宿 区 Shinjuku 0 渋 谷 区 Shibuya 0 品 川 区 Shinagawa 外 国 の 人 にもうれしい Catering to people from overseas Minato F C 港 区 Minato 荒 川 区 Arakawa 千 代 田 区 Chiyoda 圧 巻 のレコードコレクション Staggering record collection Koishikawa Library, Bunkyo 台 東 区 Taito 中 央 区 Chuo 江 東 区 Koto 大 田 区 Ota 墨 田 区 Sumida 葛 飾 区 Katsushika 江 戸 川 区 Edogawa 東 京 の 公 立 図 書 館 の 数 The number of public libraries in Tokyo 0 Reference: Tokyo Metropolitan Library website (June 0 content) A 約 万 000タイトルの 雑 誌 がずらり Impressive array of about,000 magazines Tokyo Magazine Bank, Tokyo Metropolitan Tama Library Held here are,000 magazine and journal titles from the Meiji period to the present day, covering a wide range of genres and languages. Relocation from Tachikawa to Kokubunji is ongoing: the current Tachikawa facility is closed until July and will operate on a reduced scale from August through December 9. The new building is slated to open in late January 0, and there are plans to further add to the collection after that. B 子 供 向 けの 本 が 充 実 An abundance of children s books Nerima Nerima has the most children s materials, with, titles. At Nerima Public Library, Bookstart events bring infants and their parents or guardians together through the medium of picture books. Participants with infants who bring the picture book exchange coupon given out at -month well-baby check-ups and their Maternal and Child Health Handbook receive a set of picture books., 練 馬 区 Nerima 児 童 資 料 数 Children s materials in numbers*,0 杉 並 区 Suginami 9, 足 立 区 Adachi C 圧 巻 のレコードコレクション Staggering record collection Koishikawa Library, Bunkyo 9 9 Bunkyo has the most records of any municipality with 9,, far more than Shinjuku s second-place total of,9*. All of this almost 0,000-strong collection is held in Koishikawa Library, and includes many prized recordings of pop and rock from yesteryear as well as classical music, jazz, songs and rakugo traditional Japanese comic storytelling. D 街 を 走 る 台 の 移 動 図 書 館 Three mobile libraries traveling the streets Machida E 本 が 最 も 多 いのは? Where are the most books? Suginami F 外 国 の 人 にもうれしい Catering to people from overseas Minato 0 Machida is the only municipality which has more than two active mobile libraries. The "Soyokaze" has been doing the rounds of the city for about 0 years. The city is large and long from east to west, and has plenty of undulating terrain, and the service was founded so that people with no library nearby could also enjoy reading. To the right are the top three places for the number of titles. The public libraries in first-place Suginami are all large in size and holding capacity. Second-place Setagaya CIty and thirdplace Ota each have public libraries, top amongst Tokyo s municipalities.,, 杉 並 区 Suginami 図 書 総 数 Total number of titles*,, 世 田 谷 区 Setagaya,09, 大 田 区 Ota Minato is home to many Europeans, Americans and other overseas nationals. Catering to these demographics, libraries like Minato Library offer an abundance of foreign-language titles. Tachikawa s American military base has given rise to cultural exchange with American cities and an increase in foreigners. From the start, Tachikawa Central Library has put a lot of effort into stocking foreign-language materials., 港 区 Minato 外 国 語 資 料 数 Foreign-language materials* 0, 目 黒 区 Meguro, 立 川 市 Tachikawa *Sources: figures compiled from Tokyo Metropolitan Library 0 survey, except for National Diet Library and Tokyo Metropolitan Library data

6 TOKYO PAPER for Culture vol.0 0 TRAINING START! 9 月 JULY SEPTEMBER アーツカウンシル東京 アツカン が主催するプログラムをご紹介 さあ 芸術文化力を高めるトレーニングをはじめましょう Sharpen your arts and culture game by training with this introduction to programs organized by Arts Council Tokyo. 東京駅前の参加型音楽フェス アンサンブルズ東京 A Participatory Music Festival in Front of Tokyo Station ENSEMBLES TOKYO 音楽家 大友良英のディレクションのもと みんなで作り上げる音楽の祭典 ワークショップに 参加した人たちとミュージシャンが 東京駅前の行幸通りで一緒に演奏します 会場の地面に は プロジェクトFUKUSHIMA! と共に全国から集めた風呂敷をつなぎ合わせた 大風呂敷アー ト を広げます This is a music festival everybody creates together under the direction of musician Otomo Yoshihide. Musicians and people who have taken part in workshops in advance perform together on Gyoko Street in front of Tokyo Station. Everyone also works with Project FUKUSHIMA! to create a giant furoshiki art installation by covering the ground with furoshiki wrapping cloths gathered from around the country and fastened together. Photo: Kiyoshi Arai 日時 平成 0 年 9 月 日 日 :00 開場 :0 開演 予定 会場 東京駅前丸の内側 行幸通り URL 入場料 無料 ただし 事前ワークショップは有料 事前ワークショップに参加しよう 芸術監督 大友良英 美術 装飾 プロジェクト FUKUSHIMA! Date and Time: Sun. Sep. 0 :00 open, :0 start (tentative) Venue: Gyoko Street (on the Marunouchi side of Tokyo Station) URL: Admission: Free (advance workshops require a participation fee) Artistic Director: Otomo Yoshihide Art and Decoration: Project FUKUSHIMA! ここがポイント 会場に敷く 大風呂敷アー ト を制作するワークショ ップで 会場づくりから参 い切り音を奏でるのが気 持ちいい ワークショップを選べます Choose a workshop that fits your skill level, like OK for those with no musical experience or Bring whatever instrument you like..9 /. / 9.. / 9. 音が出るものならなんでも OK Anything that makes sound is okay. 歌詞も曲も みんなで作る東京駅のうた Lyrics and melody, a song of Tokyo Station we all make together. 芳垣安洋とOrquesta Nudge! Nudge! いしいしんじと原田郁子 Key points! プロのミュージシャンと セッションできる貴重な機 会 東京駅の目の前で 思 楽器経験がなくてもOK 自分の好きな楽器を持 参 など スキルに合わせて Join an advance workshop!. 9. 加すると一層楽しめます Join the workshop that makes the giant furoshiki art installation and be involved right from the start in prepping the venue. プロジェクト FUKUSHIMA! Project FUKUSHIMA! 行幸通りがフェス会場に!? 会場やステージを彩る大風呂敷を 一緒につくろう アーティストも参加予定 Photo: Kiyoshi Arai This is a rare opportunity to jam with professional musicians, and it s a blast to play music in front of Tokyo Station! Shinji Ishii & Ikuko Harada Yasuhiro Yoshigaki & Orquesta Nudge! Nudge! Turn Gyoko Street into a festival site! Help make giant furoshiki to decorate the venue and stage! Artists will be joining in, too! 自分たちで音楽をつくる 自分たちで会場 もつくる みんなが一緒になってつくるフェ スです ただ見に来るもよし ワークショッ プに参加してステージに出るもよし 新しい フェスを一緒につくっていければと思います Creating the music by ourselves, creating the venue by ourselves this is a festival we all create together. It s okay to just come and watch, it s okay to take part in workshops and come up on stage, and I hope you ll join us as we create a new kind of festival.. / 子供は楽器 大人は非楽器で演奏 Kids perform with instruments, adults with non-instruments. 即興音楽で音楽の衝動を解放する Release your musical urges with improvisational music! トクマルシューゴ フレッド フリス Photo: Kiyoshi Arai 芸術監督 大友良英 Artistic Director Otomo Yoshihide Shugo Tokumaru ー イヤ er! プレ play が a な s みん yone er Ev MORE TRAINING Fred Frith 各ワークショップの詳細や参加方法は 公式ウェブサイトをご確認ください See our official website for details about each workshop and information about how to take part. 追加トレーニングはこちら WEB MAGAZINE 独自のコンテンツや うごくマンガも Original Content and Comic that Move 前号から始まったウェブマガジン TOKYO PAPER The online magazine edition of the TOKYO PAPER for Culture is now even better, with web-only content and moving versions of the comic carried in the print issue. There s a lot to see, so please check it out. for Culture がさらにパワーアップ ウェブだけの コンテンツや 本紙に掲載されているマンガがうごき を見せるなど 盛りだくさんの内容になりました ぜ ひアクセスしてみてください paper.artscouncil-tokyo.jp CHECK! ウェブマガジンだけ 往復書簡 平井理央 速水健朗 Round-trip Letters paper.artscouncil-tokyo.jp/en Rio Hirai x Kenro Hayamizu Web-only Content CHECK! マンガがうごく 私の珍プレー好プレー 大橋裕之 My Odd Plays and Fine Plays Hiroyuki Ohashi Comic that Move!

7 TOKYO PAPER for Culture vol.0 子供も大人も楽しめる まちの音楽祭 A Community Music Festival for Kids and Grown-ups Alike TERATOTERA SOUND FES. 高円寺駅 吉祥寺駅 国分寺駅エリアでアートプロジェクトを展開している TERATOTERA が手掛け る 地域密着型の音楽フェスティバル 日間にわたって 屋外で様々な音楽が奏でられます 小さな子 供から年配の方まで みんなが楽しめるイベントです This community-based music festival is a project by TERATOTERA, which engages in art projects in the area between Koenji Station, Kichijoji Station, and Kokubunji Station. All kinds of open-air music will be played during this two-day event that has something for everyone, from little kids to older folks. 日時 平成 0 年 月 0 日 土 日 日 時間は公演により異なる 出演アーティスト Performing Artists 会場 コミュニティステーション東小金井 URL teratotera.jp 入場料 無料 0 Date and Time: Sat. 0 Aug. Sun. Aug. 0 (times vary by performance) Venue: Community Station Koganei URL: Admission: Free 子供から大人まで幅広い年齢層に 毎年好評をいただいている SOUND FES. 今年は JR 中央線東小金井駅の高架下がその舞台となります よく見知った風景のもと 非日常の音楽体験をお楽しみください The Sound Fes is always a hit every year as it offers something for every age group from kids to grown-ups. This year the festival is being held beneath the elevated railway at Koganei Station on the JR Chuo Line. Enjoy an out-of-the-ordinary musical experience in this familiar setting. ラッキーオールドサン Aokid AND MORE... Lucky Old Sun ディレクター 詳細な内容は決定次第公式ウェブサイトで発表します 小川 希 *More information will be posted on the official website. Director Nozomu Ogawa る がす の音 om 器 r f 楽! s んな ound ents いろ any s strum M y in n ma へ の向こう いざ 海 rseas! ve o g Headin リーディングプロジェクト in リオデジャネイロ TOHOKU & TOKYO in RIO Leading Project in Rio de Janeiro 東京 00 オリンピック パラリンピック競技大会の文化プログラムの先導的役割を果たすリーディン 東京 日本の芸術文化を広くアピールするとともに 東日本大震災で被災した東北が復興 グプロジェクト リオデジャネイロ 0 オリンピック パラリンピック開催期間中に 現地で文化事業 しつつある姿を世界へ発信します 東京からは 江戸文化を現代に受け継ぐ伝統芸能 江 を展開します 世界中の人々が注目する一大イベントで 東京と日本の文化を広く世界に伝えます 戸鳶木遣り 東北からは 土地を浄め鎮魂を意味する郷土芸能 いわきじゃんがら念仏 As part of the lead-up to the Cultural Program for the Tokyo 00 Olympic and Paralympic Games, we will be holding on-site cultural activities during the period of the Rio de Janeiro 0 Olympic and Paralympic Games. While the eyes of the world are focused on this major event, we will share the culture of Tokyo and Japan. して 日本人サンバダンサーと現地の和太鼓チームも参加します 踊り 福島県 と 鬼剣舞 岩手県 が一堂に集結 また 日本とブラジルの友好の証と This event broadly promotes the arts and culture of Tokyo and Japan, while also sharing with the world the latest news from Tohoku as that region recovers from the Great East Japan Earthquake. From Tokyo comes Edo Tobi Kiyari work songs that have been passed down from the Edo period to the present day while from Tohoku comes the Iwaki Jyangara Nenbutsu Odori (Fukushima Prefecture) and Onikenbai (Iwate Prefecture) folk performances, which purify the earth and pacify the spirits. As a demonstration of the goodwill between Japan and Brazil, Japanese samba dancer and a local taiko drum team will also take part. CULTURE & TOKYO in RIO 劇作家 演出家の野田秀樹氏が監修する 東京キャラバン で は 日伯両国のアーティストの文化 混流 による共同創作ワー クショップを アーティストの日比野克彦氏が手掛けるプロジェク ト TURN では 日伯両国のアーティストが 現地の社会福祉 施設等での交流を通して生み出した作品の展示等を行います TOKYO Caravan, led by playwright, director Hideki Noda, developed jointly by Japanese and Brazilian artists during a culture inter-mixture workshop, while the TURN project undertaken by artist Katsuhiko Hibino will exhibit works by Japanese and Brazilian artists created through interactions at local social welfare facilities. 日程 会場 平成 0 年 月 日 木 Rio 0 Live Sites (Praça Mauá, Praça XV) 平成 0 年 月 9 日 金 Cidade das Artes (Tokyo 00 JAPAN HOUSE) URL Dates and Venues: Thu. Aug. 0 at Rio 0 Live Sites (Praça Mauá, Praça XV) Fri. 9 Aug. 0 at Cidade das Artes (Tokyo 00 JAPAN HOUSE) URL: 日程 東京キャラバン 平成 0 年 月 日 木 日 日 TURN 平成 0 年 月 日 木 9 月 日 水 会場 パッソ インペリアル ブラジル リオデジャネイロ URL まだ まだ To b 続く e co ntin ued! Date: Tokyo Caravan: Thu. Aug. Sun. Aug. 0; TURN: Thu. Aug. Wed. Sep. 0 Venue: Paço Imperial (Rio de Janeiro, Brazil) URL: 東京文化の情報を発信中 Broadcasting information about culture in Tokyo RADIO TOKYO FM WORLD TOKYO ART BLOOM ウェブにて配信中 Distribution online WEB Facebook アーツカウンシル東京 NEXT TRAINING! YouTube 公式チャンネル アーツカウンシル東京 Newsletter J-WAVE.FM ARTS COUNCIL TOKYO CREATIVE FILE 毎週土曜日 : : ワイド番組 RADIO DONUTS 内 Saturdays, : : (A segment of the RADIO DONUTS show) 東京で暮らし 文化 芸術の分野で活躍する外国人の方に東京の魅力をうかが 東京で 暮らす 働く 学ぶ など 東京につながりをもつすべての人のための います アーツカウンシル東京が展開するプログラムの情報もお届けします In this program people from overseas who live in Tokyo and are active in the arts and culture scene talk about what they like about the city. It also introduces programs organized by Arts Council Tokyo. 番組 アーツカウンシル東京のプログラムや東京文化の創造について紹介します This program is for everyone with a connection to Tokyo, whether they live here, work here, or study here, introducing Arts Council Tokyo programs and exploring the creation of Tokyo s culture. トレーニング後の 一杯 After training, it s time for a drink. 夏なのでクールダウンも いいけれど やっぱりアツカン Something cool and summery might be nice, too, but I hear hot sake calling. RADIO DONUTS ナビゲーター 渡辺 祐 Navigator of Radio Donuts Tasuku Watanabe

8 TOKYO PAPER for Culture vol.0 絵 文 ほしよりこ 東京新陳代謝 ons nsiti Tra Tokyo 変わるもの 変わらないもの 日々ゆれる東京のストーリー ngs that don t: Things that change, thi in daily flux the sto ry of Tokyo, a city 玩具的 Toylike 0 年くらい前 原宿にオープンするレスト ランの壁画を描くバイトをしたことがあ る 友人と私が任されたのは エイジン Manga artist and Kansai resident born in 9. Her single-panel comic strip Kyo no Nekomura-san [Today s Ms. Nekomura] appears daily at nekomura.jp. Magazine House published Kyo no nekomura-san [Today s Ms. Nekomura ], Casa no nekomura-san [Casa s Nekomura-san ], Boku to Poku [Pork and Me] and B&D. She received the 9th Annual Tezuka Osamu Cultural Prize for Aisawa Riku Vol.& [Riku Aisawa Vol.&] (Bungeishunju). Other works include Yama to soba [Mountains and Soba] (Shinchosha). グという作業で これは綺麗に塗られた壁や壁画な Yoriko Hoshi どを味わいのある年代物風に見せるという仕事で よ 文藝春秋 で第 9 回手塚治虫文化賞 沢りく 上 下 ごし と呼んだりもする 天井が高い劇場のような 出版 マンガ大賞を受賞 ほかに 山とそば 新潮社 などがある 付けるので 必然的に髪の毛もつなぎも全身がまさ きょうの猫村さん カーサ 村.jp で 日 コマ連載中 僕とポーク B&D をマガジンハウスから の猫村さん レストランでよごしをするときは スプレーで吹き 漫画家 9 年生まれ 関西在住 きょうの猫村さん を 猫 に汚れます 展望台から双眼鏡をのぞき 近くのビル で働いている人や地上を走るおもちゃの ような車を追いかけた ビルの中で動く 人もおもちゃのように見え 数えきれな い四角い建物も 上手にできたおもちゃ のようだし 双眼鏡をのぞく我々だって なんだかおもちゃみたいに思い出される のは 街があまりにも巨大だからだろう か その夜は都庁前の広場で薪能が行わ れた 双眼鏡はここでも役に立った 私たちが一生懸命汚した建物は オー プンから 年も存在しなかった気がする 今もその場所を何度も通っているはずな のに それがどこだったか思い出せない 当時 東京へ遊びに行くという人に双 眼鏡を持っていくことを勧めていた 高 層ビルの展望台から向かいのビルで動く 人を見たり 車を見たら楽しいよ と言 う と でも そ れって 変 態 ぽ く ない と時々言われた ほしよりこ これからできる新しい空間を一生懸命汚して深夜 建物の外に出ると 同い年くらいの女の子が着飾っ て カラフルな物を食べながら歩いているが 汚れ きった私たちは タクシーを乗車拒否されホテルま で歩いて帰った 日 目 に し て 床 の 作 業 が 入った の 仕 事 が 始 ま り で壁の作業は中断され オフになった 関西から来 た友達と私は 東京が広すぎてどうしていいのか分 からなくなった 私はそのとき 東京には高層ビル が多いからということで 双眼鏡を持ってきており か見よう と 思いつく高い建物 都庁へ向かった T 高い建物に登って 他のビルの人が何をしているの wenty or so years ago, I did a casual job painting murals for a new Harajuku restaurant. My friend and I were responsible for aging (aka distressing ) it; giving clean new walls and murals etc. an antique patina. We had to spray-distress the high theater-like ceiling, so of course our hair, overalls and entire bodies were also duly distressed. When we left late at night after doing our best to distress the new place, there was a girl outside about the same age as us, walking along all dressed up and eating something colorful. But we had to walk back to our hotel, as no taxi would stop for such a filthy pair. Two days into the job, we had the day off when flooring work halted ours. Coming from Kansai, we had no idea what to do in the vastness of Tokyo. As Tokyo had so many high-rises, I d brought binoculars with the idea of going up a skyscraper and seeing what people were doing in other buildings. So we headed for the Tokyo Metropolitan Government Building (Tocho). On the observation deck, 0 o Hoshi tion by Yo rik ustra Text and Ill we used the binoculars to track people working in nearby buildings and toylike cars in motion. The people working inside and the countless square buildings were also toylike. I remember us with our binoculars as a bit like toys ourselves, probably because the city was so gigantic. That evening there was a torchlight performance of Takigi-Noh in the plaza in front of Tocho. The binoculars came in handy for that, too. I don t think the building we did our best to distress lasted more than ten years after opening. I must still often pass it but can t remember where it was. In those days, I used to advise people visiting Tokyo to take binoculars. I told them what fun it was to look at office workers and cars from a high rise opposite and sometimes they told me that was a bit pervy. 大橋裕之 漫画家 90 年愛知県蒲郡市生まれ 音楽と漫画 太田出版 シ 夏の手 幻冬舎 遠浅の部屋 カン ティライツ 全 巻 講談社 ゼン 太郎は水になりたかった リイド社 Hiroyuki Ohashi Manga artist. Born in 90 in Gamagori, Aichi Prefecture. His books include Ongaku to Manga [Music and Manga] (Ohta Books), Lights, -volume series (Kodansha), Natsu no Te [The Hand of Summer] (Gentosha), Toasa no Heya [Shallow Room] (Kanzen), Taro wa Mizu ni Naritakatta [Taro Wanted to Be Water] (Leed Publishing Co.) The other day I was having a meeting in a coffee shop. A fly was hovering over the table. I tried to wave it away, and... strangely enough, it got caught between my fingers. Bzz bzz bzz Bzzzzz TOKYO PAPER for Culture vol.0 Gosh! For some reason I got really embarrassed, and I let it fly out the door. Bzzzzz ディレクター 森隆一郎 / アツカン 編集ディレクション 執筆 水島七恵 編集部 圓城寺裕子 キムキョンナ 里見恵利華 / アツカン 編集 執筆 平林理奈 P P / Playce アートディレクション & デザイン TAKAIYAMA inc. 写真 大森克己 表紙 P P ヘアメイク 奥野 誠 武井 壮 加藤 康 三浦大知 スタイリング 村田友哉 / SMB International. 三浦大知 衣装協力 三浦大知 VADEL DOMENICO SAVIO winonal アシックスジャパン株式会社お客様相談室 株式会社 IVXJAPAN 翻訳 オフィス宮崎 印刷 太陽印刷工業株式会社 発行 アーツカウンシル東京 公益財団法人東京都歴史文化財団 発行日 0 年 月 日 禁 無断転載 アーツカウンシル東京 公益財団法人東京都歴史文化財団 0-00 東京都千代田区九段北 -- 九段ファーストプレイス 階 TEL 0-- FAX 0-- Arts Council Tokyo (Tokyo Metropolitan Foundation for History and Culture) Kudan First Place F, --, Kudankita, Chiyoda-Ku, Tokyo 0-00 TEL: +(0)-- FAX: +(0)--